; so also, must the elemental tonal forms be extemporaneously
combined, for the music must fit the words, and these will vary in
rhythm and meter with each performance. The music may be considered
constant, however, in that the form of each component motive is more
or less fixed.

The following five group-ingredients, used either in the pure form
as shown, or with slight alterations, make up approximately one-half
of the entire song.

Reiterated tones and glissandos pad out between these and make up
practically the remainder of the number.

Turning our attention to the first of the above groups, which I have
marked "M.M.1." (melodic motive), we find that it is used nearly a
score of times throughout the extent of the song.

A motive may be modified in ten different recognized ways and each form
of modification employed in varying degrees, within certain limits,
and yet the motive will not loose its identity. As an example of this
we find in this song the first melodic motive _transposed_ from the
fourth degree of the scale (where it is originally announced) to the
first, the fifth, and the sixth degrees. We find the same motive
given with _omissions_, with _additions_, with _augmentations_,
with _contractions_, and with _altered rhythmic values_; in short,
the composer has turned this motive over and over, and unwittingly
developed it much after the manner used by musicians trained in the
art of composition. The fact that this motive is given four times
rhythmically and melodically intact, besides recurring frequently
throughout the composition in one or another of the accepted forms of
modification, argues that this melodic germ was a familiar tone-figure
to the singer, one that he could apply to most any syllable on which
he wished to dwell. In this connection it is interesting to note that
this motive, in its purest form, is always used in a transitional way,
not only musically, but rhetorically, thus "marking time," as it were,
while the improvisator chooses his next words of praise.

The second melodic motive (M.M.2.) occurs at least five times, with
some transformations to be sure, and sometimes even overlapping the
first motive. The third (R.M.) is purely rhythmic, but seems to be
a pet device of the singer and helps him out with syllables needing
special emphasis. The fourth can hardly be dignified by the name of
motive, in this case, but is simply a musical device (M.D.), used by
the singer mostly in his